
Guest post by Caleb Allison. Spoilers throughout! Douglas Sirk has become synonymous with lushly subversive melodrama wrapped in Technicolor brilliance, but before his nearly unbelievable string of melodramatic masterpieces in the 1950s, including Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956), and Imitation of Life (1959), he conjured up a… Read more »